Moving Picture World (Jan-Jun 1910)

502 THE MOVING PICTURE WORLD From time to time articles from physicians and surgeons are published, describing the disagreeable effects to the eye by moving pictures; but we think we are right in saying thai no positive evidence upon this point exists. We heard the other day that vaudeville actors, pianists and others arc refusing employment at moving picture theaters, because the moving picture hurts their sight, prevents them reading music properly, and the like. Probably, then, they arc not yet habituated to the moving picture, or they have seen it where it is not properly \n. It is not the fault of the picture, as such, if, to repeat ourselves, as is probable, these people have a prejudice against it. It is ignorance. If they only familarized themselves with the picture in its best aspects, they would take up the co-operative rather than an antipathetic attitude towards it. Exhibitors throughout the country would do well, where possible, to dispel any illusion they may hear expressed as to the harmful effect of moving pictures on the eyes. If they arm themselves with such of the arguments that we have briefly outlined in this article, then they may do a great deal of good by killing some of the many misconceptions which prevail with regard to the picture. Poor picture, it has a lot to bear! It seems to be considered in some quarters to be an obstacle to mental and moral progress ; and now it is charged with being an opponent of our physical well-being ! What next, we wonder? The Stories of the Films. The Moving Picture World has a very varied circle of readers indeed. Not only is it read by all sections of the trade, including the largest body of all — the exhibitor — but it goes into the hands of professional men, travelers, lecturers, literary men and others whose interest in the picture is of a slight or possibly only of a momentary nature. Then, we have amongst our readers a very considerable number of the general public. By the general public we mean those who simply go to the moving picture theater for amusement. This section of our readers turns infallibly, week by week, to the stories of the films that we print. In fact, over and over again we hear some such remarks as these: "Those little stories that you print are just like condensed novels. We enjoy reading them, and if there is a story that we like very much, we go and see the picture." On other occasions we have been told that a visitor to the theater has actually taken a copy of the Moving Picture World with him or her and endeavored to follow the film by the story. Why do we mention this? Simply, first of all, to show the wide and growing influence which the moving picture has, and is exerting. Also, to show that we are doing our part in familiarizing the public with the good work that is being done by the moving picture makers It will be seen that our stories of the films take up a very large part of our space. They are printed in small, solid type and are costly from the printer's point of view If we were intensely mercenary it would be comparatively easy to omit those stories and utilize the space in other directions. But we prefer to continue them because we find that all sections of our readers appreciate them. and that appreciation is not confined to the purely trade sections of the public. No. those stories, as we have alreadv said, are widelv read outside the moving picture field. ' Now, we think this is good work in the interests of the moving picture and we are very glad to find that there is widespread appreciation of our policy. We have another reason for specially referring to this matter. We want the exhibitor to take notice of what we say in this respect. We want the exhibitor always to keep a copy of the Moving Picture World by him and when he hears of the moving picture theater being attacked, cither in public or private, to produce his copy of the Moving Picture World and show those stories of the films to the offender. In 98 cases out of 100 those stories are just as fit for home reading, for both young and old of both sexes, as the literature published by Dr. Anna Shaw and her fellow-zealots. On the other hand, to read some of the attacks on the films recently published in vaudeville and other newspapers one would think that the works of the most sensational novelists have been ransacked for plots. Not so. These stories, as anybody can read for himself, are usually quite innocuous, and, as we have heard many a time, they are making themselves good reading whether you go and see the pictures or not. The Bianchi Camera. Progress is the watchword of the world, or, rather, of the people who inhabit the world. Each day that comes and goes sees some step forward in human achievement. This is in the very nature of things. Were it not so, the human race would not be fulfilling its destiny. It readily follows, therefore, that there is no such thing as finality in invention. To come closer to our point, the moving picture is in a state of progressive evolution. It is a different and a very much better thing to-day than it was two years ago, speaking generally. A year hence it will be a different and a very much better thing, we hope and believe, than what it is to-day. Similar improvement goes on and is manifesting itself in the methods of making the picture — whether it be in the actual taking of the photograph, its development and aftertreatment, and the methods of its projection and presentation to the public. Improvement is being made all the time and is the outcome of the application of many inventive minds to the work. For the last year or two, much has been said, much has been heard of the Bianchi camera for taking moving pictures. Very little, however, has been really known of what this instrument is capable of doing, until recently. Practically nothing has been seen of what the camera can produce in the way of taking moving picture photographs. It has been the object of rumors and counter-rumors, and some have alleged that it is impracticable in use ; others, on the contrary, have openly said that it was an impossibility to use it. However, it was inevitable that sooner or later we. who have always manifested close interest in the practical end of moving picture making, should have an opportunity of judging for ourselves whether the claims on behalf of the Bianchi camera were justified. That opportunity came to us the other day at the works of the Thanhouser Company at New Rochelle. It will be remembered that in the issue of the Moving Picture World for March 12th. we gave a brief account of those works and also the aims of Mr. Thanhouser, who has brought his theatrical experience to bear in the production of the moving picture. Our impressions, as the reader will remember, were distinctly favorable to the Thanhouser factory and the aims of its president. And the second visit that we paid to those w^orks confirms us in those impressions. For the Thanhouser factory is a well-equipped installation for the making of moving pictures. The stage has been well designed and is in competent hands ; the development facilities are upto-date and calculated to make good prints, and the tout ensemble of the factory is such as to impress us that